“It was a really interesting process because the band and the producer really reflected on the songs as the mixes developed,” he said. “Then they’d record new ideas and bring them in for additional mixing. The content changed while I mixed it! It was challenging, but also a ton of fun.”

Costey also noted that his ATCs can “crank” when needed without really affecting the sound of the mix. “That’s useful when I’m wearing my producer hat and want to inspire the band,” he said. “The ATCs hang together and present an honest picture at any volume.”

Costey’s career began with the legendary Phillip Glass at his Looking Glass Studios, but really took off when producer Rick Ruben recognized his talents. While striving to meet Ruben’s exacting expectations, Costey began using ATC monitors to build mixes that translated.

“I feel like everybody has different ears, and different monitors work for different people,” Costey said. “Monitor choice is deeply personal. As far as I’m concerned, I want something that is highly critical of the source material and something that translates reliably…. I use ATCs because they allow me to reliably work without having to second-guess my choices or go back to fix mistakes. ATCs make me more successful.”